Canon RF 70-200mm F2.8 L IS USM Z Lens Review

Is the Canon RF 70-200mm F2.8 L IS USM Z the sharpest interchangeable full-frame zoom lens ever made? I'll call it the sharpest we've tested.

A 70-200mm f/2.8 lens is practically a requirement for any professional or serious amateur photography kit, and these best-selling lenses are often among the most frequently used. Thus, having more than one 70-200mm f/2.8 lens option in the Canon RF line-up is justifiable.

In this case, the Canon RF 70-200mm F2.8 L IS USM Lens (no "Z") is that other lens. It was, and still is, a game-changer. This remarkably lightweight and compact lens produces incredible image quality — it is also among the sharpest zoom lenses ever made.

So, to justify its existence, the Canon RF 70-200mm F2.8 L IS USM Z Lens had a high hurdle to clear.

Not so long before this lens's announcement, Canon introduced the first "Z" lens, the nearly identical Canon RF 24-105mm F2.8 L IS USM Z Lens. What is the "Z" for? This letter designates compatibility with and provides attachment points and contacts for the Canon Power Zoom Adapter PZ-E2 and PZ-E2B. These devices provide motorized control of the Z lens's conventional zoom ring. A manual aperture ring adds to the "Hybrid" stills and video designation and purpose of these lenses.

Another big advantage the 70-200 F2.8 Z lens holds over the non-Z lens is compatibility with the Canon RF 1.4x Extender and Canon RF 2x Extender, the primary (only?) complaint I've heard about the non-Z lens. The Z lens's incredible sharpness translates into impressive with-extender performance.

The Z lens gets two additional aperture blades, 11 vs. 9, a higher maximum magnification capability, 0.30x vs. an already respectable 0.23x, and an extra 0.5 stops of IS, 5.5 stops vs. 5.0 (they share a 7.5 stops IBIS rating). While the Z lens is a couple of inches longer than the retracted non-Z, the Z is modestly shorter than the fully extended non-Z. The Z lens weighs only 1.3 oz (37 g) more than the non-Z.

Oh, the Z also gives you a choice of colors, black or white. I know, that decision will cost you some brain processing cycles. You can get both.

As with the RF 24-105mm F2.8, the Canon RF 70-200mm F2.8 L IS USM Z Lens's designers targeted professional video content creators, video production individuals and firms, and serious enthusiasts for portraiture, events and weddings, photojournalism, and high-end YouTube and in-house productions. The RF 70-200mm F2.8 L IS USM Z is a high-end, mid-sized, fixed-size lens that reliably delivers outstanding overall performance, including incredible image quality, fast and quiet Dual Nano USM AF, and image stabilization. As part of the elite L-series, the RF 70-200 Z lens is extremely well-built and ready for the rigors of daily professional use.

Focal Length Range

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Most photographers find a telephoto zoom lens to be an essential part of their kit, and the 70-200mm range is a top choice to fill that role.

Portrait photography is at the top of the 70-200mm focal length lens favorite uses list. Containing a superset of the classic 85-135mm portrait focal length range, a 70-200mm lens is ideal for capturing pleasing perspectives of people.

This lens invites subject framing ranging from full-body portraits at 70mm to tight headshots at 200mm. These mid-telephoto focal lengths naturally push the focus distances to a comfortable working distance that avoids perspective distortion yet retains easy communication with the subject.

"Portrait photography" is a broad designation that covers a wide range of potential still and video uses at a wide variety of potential venues, including both indoors (home, church, school, etc.) and outdoors (yard, beach, park, parade, playground, etc.). Portrait subjects can range from infants to seniors, from individuals to large groups (if adequate working distance is available). Engagements, weddings, parties, events, theater, stage performances including concerts and recitals, speakers, kids' events, families, small groups, senior adults, graduating seniors, fashion, documentary, lifestyle ... all are great uses for the 70-200mm focal lengths. There is often adequate space in even a small studio for portraiture with the focal length range provided by this lens. Use this lens to cover entire portrait shoots.

That portrait photography can be revenue-producing helps justify the acquisition cost of this lens (you cannot buy stock photos of most people), and you likely noticed the paid applications in the just-shared list of portrait uses.

People are also frequently photographed participating in sporting and other action scenarios using this focal length range. While the 200mm focal length will likely be found too wide for large field sports photography, it works great for closer action such as that found at track and field meets and on the basketball court. Basketball is typically played indoors, and with the f/2.8 aperture (more on this soon) availed, indoor action sports are within this lens's capabilities.

I'll talk more about background blur in the aperture section next, but the long focal lengths and wide aperture combination enables the background of 70-200mm images to be diffusely blurred. That attribute is especially great for portraits captured where the background cannot be adequately controlled, including at sporting events and performances captured from a seat in the audience.

While portrait photography generally refers to photographing people, certain types of wildlife photos are regarded as portraits. These images typically include the animal substantially filling the frame, and for that task, this focal length range often falls short of the need unless the wildlife subject is large or close — or extenders are used. If capturing environmental wildlife portraits or captive wildlife, the 70-200mm focal length range may be perfect. This focal length range is great for photographing pets, including dogs and cats.

A 70-200mm lens is a great studio lens, working especially well for product images and many other general studio applications. A significant percentage of the product images on this site were captured within this focal length range, and this range works well for more substantial products, including vehicles — car portraits.

When mentioning landscape photography, many photographers immediately think of wide-angle lenses. However, telephoto focal lengths are an essential part of a landscape kit. Telephoto focal lengths can create excellent landscape images, especially when there is a distant subject, such as a mountain, to be emphasized, rendered significant in the frame. It is so easy to take great telephoto landscape images that it sometimes feels like cheating.

Another excellent landscape photography use of a telephoto lens is focusing on closer details and allowing a strong background blur to artistically isolate those. This focal length range is especially optimal for capturing clouds and sunsets/sunrises, allowing the frame to be filled with color from even a modest sky show.

Cityscapes are essentially landscape images with cities in them, and this focal length range is often a great choice for the more distant city scenes. Street photography is usually done in cities, and the 70-200mm range is optimal for this pursuit.

Here are focal length comparisons (captured with different lenses).

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On an APS-C imaging sensor format camera (1.6x), this 70-200mm lens has an increased angle of view equal to that of a 112-320mm lens on a full-frame camera. While the narrower angle of view does not significantly change the uses list for this lens, these angles of view make wide-framed portraits less ideal, and most will prefer this angle of view range for sports and wildlife pursuits.

Max Aperture

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This lens has a wide f/2.8 max aperture over the entire focal length range.

What are the advantages of a wide aperture? More light reaches the imaging sensor, allowing motion (both subject and camera) to be stopped in lower light levels via a faster shutter speed and permitting the use of lower, less noisy ISO settings. Also, a wide aperture enables the creation of a shallower, better-subject-isolating depth of field.

While those photographing landscapes with this lens may not find the wide f/2.8 aperture mandatory, those capturing portraits or photographing low-light events, including sporting events, will love the faster shutter speeds and lower ISO settings enabled by the additional light. F/2.8 remains the narrowest aperture I want to use when photographing many indoor activities. In addition to stopping action in low light, the wide aperture invites handholding the camera in dim light.

I often talk about the compositional advantages of a clean border, and one way to achieve such is to blur the background. This lens has that feature. Zoom to 200mm, open the aperture wide to f/2.8, move close to your subject, and watch the distracting background melt away.

These examples illustrate the maximum blur this lens can create:

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The background is a significant percentage of many images, and when the background is not complementary to the subject (or even distracting), blurring it away is highly advantageous. In addition, the extra light a wide aperture provides enhances a camera's AF system performance, which is also key to quality imagery.

What are the disadvantages of a wide aperture? Increased size, weight, and price accompany this attribute. Usually, including in this case, the advantages outweigh the disadvantages, and the penalties imposed by this lens are not big (it is considerably lighter than the EF III).

Driving the popularity of 70-200mm f/2.8 lenses is that focal lengths longer than 200mm featuring f/2.8 are only available in considerably larger, much heavier, and far more expensive lenses. The 70-200mm f/2.8 lens models often represent the upper tolerance levels in those regards for many photographers.

As part of the "Hybrid" designation, the RF 70-200 F2.8 Z has a smoothly integrated step-less manual aperture ring, a feature especially desired by videographers. With the ring in the A (Auto) position, the camera controls the aperture setting, and all other settings force the aperture to the selected opening. A spring-loaded Iris Lock switch holds the aperture ring in the A setting, avoiding inadvertent changes, or in the manual range, locking out the A option.

Note that an EOS R-series camera model introduced in 2024 or later is required to use the aperture ring for stills.

Image Stabilization

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Image stabilization is another great feature of this lens. This IS system is rated for 5.5 stops of assistance, and with IBIS Coordinated IS, the rating jumps to 7.5 stops (7.0 stops in the periphery).

The RF 70-200 F2.8 Z's IS system is quiet, only heard by an ear nearly against the lens, and well-behaved, providing a smooth view, including when moving the camera.

Three stabilization modes are provided. Mode 1 (general-purpose), Mode 2 (for panning with a subject, one axis of stabilization is provided), and Mode 3. Mode 3 is useful for tracking erratic action. In this mode, image stabilization is active and ready for use the moment the shutter releases, but actual stabilization is not in effect until that precise time. As a result, the view seen through the viewfinder is not stabilized, which allows a moving subject to be tracked without fighting against IS trying to stabilize the view. Mode 3 is designed to detect panning motion, and when detected, the lens will only apply stabilization at right angles to the direction of the detected movement (like Mode 2).

With an increased ISO setting being the alternative, the noise difference IS enables for still subjects is huge, and stabilization dramatically improves video quality.

Image Quality

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The Canon RF 70-200mm F2.8 L IS USM Lens produces super-high image quality, and few would be satisfied with lesser results from the Canon RF 70-200mm F2.8 L IS USM Z Lens. Based on the MTF charts, we will be happy with the Z's optical performance.

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The black lines indicate contrast (10 lines/mm), and the blue lines show resolution (30 lines/mm). The solid lines are sagittal, and the dashed lines are meridional. The higher, the better, and that comparison tells a story.

The Z lens's MTF charts are optimistic, but the lab tests are incredible. This may be the sharpest interchangeable zoom lens ever, rivaling the Canon RF 100-300mm F2.8 L IS USM Lens (compare them with a 2x mounted).

Wide open at f/2.8, this lens is razor-sharp across the entire image circle at all focal lengths. Aside from modest peripheral shading clearing, stopping down produces little image quality improvement, and none is needed. This lens is optically incredible.

Taking the testing outdoors, we next look at a series of center-of-the-frame 100% resolution crop examples. These images were captured in RAW format by a Canon EOS R5 and processed in Canon's Digital Photo Professional (DPP) using the Standard Picture Style with sharpness set to 1 on a 0-10 scale. Note that images from most cameras require some level of sharpening, but too-high sharpness settings are destructive to image details and hide the deficiencies of a lens.

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Those are impressive results.

Next, we'll look at a series of comparisons showing 100% resolution extreme top left corner crops captured and processed identically to the above center-of-the-frame images. The lens was manually focused in the corner of the frame to capture these images.

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Count on samples taken from the outer extreme of the image circle, full-frame corners, to show a lens's weakest performance. This lens lacks weaknesses.

Corner sharpness does not always matter, but it sometimes does, and this lens delivers that.

This lens does not exhibit focus shift, the plane of sharp focus moving forward or backward as the aperture is narrowed (residual spherical aberration or RSA).

When used on a camera that utilizes its full image circle, a lens is expected to show peripheral shading at the widest aperture settings. At f/2.8, this lens shows a modest just under two stops of shading throughout the focal length range, and stopping down to f/4 imparts a significant reduction to well under one stop. Further reductions at narrower apertures render the shading imperceptible.

APS-C format cameras using lenses projecting a full-frame-sized image circle avoid most vignetting problems. In this case, the under 0.5 stops of 70-135mm corner shading at f/2.8 will rarely be visible, and the just under one stop at 200mm f/2.8 will be seen only in select images, primarily those with a solid color (such as a blue sky) in the corners.

One-stop of shading is often considered the number of visibility, though subject details provide a widely varying amount of vignetting discernibility. Vignetting is correctable during post-processing, with increased noise in the brightened areas the penalty, or it can be embraced, using the effect to draw the viewer's eye to the center of the frame. Study the pattern shown in our vignetting test tool to determine how your images will be affected.

Lateral (or transverse) CA (Chromatic Aberration) refers to the unequal magnification of all colors in the spectrum. Lateral CA shows as color fringing along lines of strong contrast running tangential (meridional, right angles to radii), with the mid and especially the periphery of the image circle showing the most significant amount as this is where the most significant difference in the magnification of wavelengths typically exists.

With the right lens profile and software, lateral CA is often easily correctable (often in the camera) by radially shifting the colors to coincide. However, it is always better to avoid this aberration in the first place.

Color misalignment can be seen in the site's image quality tool, but let's also look at a set of worst-case examples. The images below are 100% crops from the extreme top left corner of Canon EOS R5 Mark II frames showing diagonal black and white lines.

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These results are remarkable, especially for a zoom lens. Only a tiny amount of color fringing can be seen at the focal length extents.

A relatively common lens aberration is axial (longitudinal, bokeh) CA, which causes non-coinciding focal planes of the various wavelengths of light. More simply, different colors of light are focused to different depths. Spherical aberration, along with spherochromatism, or a change in the amount of spherical aberration with respect to color (looks quite similar to axial chromatic aberration but is hazier) are other common lens aberrations to observe. Axial CA remains somewhat persistent when stopping down, with the color misalignment effect increasing with defocusing. The spherical aberration color halo shows little size change as the lens is defocused, and stopping down one to two stops generally removes this aberration.

In the real world, lens defects do not exist in isolation, with spherical aberration and spherochromatism generally found, at least to some degree, along with axial CA. These combine to create a less sharp, hazy-appearing image quality at the widest apertures.

The wide-open aperture examples below compare the fringing colors of the defocused specular highlights in the foreground to the background. The lens has introduced any differences from the neutrally colored subjects.

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Relatively minor color fringing shows in the wider focal lengths.

Bright light reflecting off lens elements' surfaces may cause flare and ghosting, resulting in reduced contrast and sometimes interesting, usually objectionable visual artifacts. The shape, intensity, and position of the flare and ghosting effects in an image are variable, dependent on the position and nature of the light source (or sources), selected aperture, shape of the aperture blades, and quantity and quality of the lens elements and their coatings. Additionally, flare and ghosting can impact AF performance.

This lens features Canon's SSC (Super Spectra Coating), and ASC (Air Sphere Coating), an ultra-low refractive index coating consisting of air and silicon dioxide, to combat flare and ghosting. The site's standard sun in the corner of the frame flare test is brutal on high element count telephoto zoom lenses, and this one produces noticeable flare effects. However, the Z's results are considerably improved over the EF III's.

Two lens aberrations are particularly evident in images of stars, mainly because bright points of light against a dark background make them easier to see. Coma occurs when light rays from a point of light spread out from that point instead of being refocused as a point on the sensor. Coma is absent in the center of the frame, gets worse toward the edges/corners, and generally appears as a comet-like or triangular tail of light that can be oriented either away from the center of the frame (external coma) or toward the center of the frame (internal coma). The coma clears as the aperture is narrowed. Astigmatism is seen as points of light spreading into a line, either sagittal (radiating from the center of the image) or meridional (tangential, perpendicular to sagittal). This aberration can produce stars appearing to have wings. Remember that Lateral CA is another aberration that is apparent in the corners.

The images below are 100% crops taken from the top-left corner of R5 II images captured at the widest available aperture.

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While the corner of the frame stars are not perfect dots, they are far closer to such than most lenses produce. The stars are tiny and sharp.

At a time when lens designers are relying on software to correct geometric distortion, it is refreshing to look at this lens's uncorrected results. Little distortion is present at 70mm, and pincushion distortion increases as the focal length increases until a modest amount is present at 200mm. As usual and if desired, this distortion can be corrected, with stretching or cropping required to true the geometry.

As seen earlier in the review, it is easy to illustrate the strongest blur a lens can create, and telephoto lenses are inherently advantaged in this regard. Due to the infinite number of variables present among available scenes, assessing the blur quality, bokeh, is considerably more challenging. Here are some f/11 (for diaphragm blade interaction) examples.

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The first set of examples shows defocused highlights that are smoothly filled and especially round for the f/11 aperture. The second set of examples shows full images reduced in size and looking great.

Except for a small number of specialty lenses, the wide aperture bokeh in the frame's corner does not show round defocused highlights, instead showing cat's eye shapes due to a form of mechanical vignetting. If you look through a tube at an angle, similar to the light reaching the frame's corner, the shape is not round. That is the shape we're looking at here.

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Shape truncation is limited to deep corners at the wide end. As the focal length increases, the truncation moves inward modestly. As the aperture narrows, the entrance pupil size is reduced, and the mechanical vignetting diminishes, making the corner shapes rounder.

An 11-blade diaphragm will create 22-point sunstars (diffraction spikes) from point light sources captured with a narrow aperture. Generally, the more a lens diaphragm is stopped down, the larger and better shaped the sunstars tend to be. Wide aperture lenses tend to have an advantage in this regard, but this lens's stars are just OK, as illustrated below.

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The examples above were captured at f/16.

This lens design features 2 Super UD lenses, 1 UD aspheric lens, 1 GMo aspheric lens, and 1 replica aspheric lens.

Aside from the modest sunstar quality, there is little to complain about. The test results from the Canon RF 70-200mm F2.8 L IS USM Z Lens are outstanding. This lens is one of the highest-optical-performing models we've tested.

Focusing

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As with the RF 24-105mm F2.8 L IS USM Z Lens, Dual Nano USM powers the RF 70-200mm F2.8 L IS USM Z Lens's AF. This system is super-fast, quiet (only light shuffling and clicks heard), internal, and smooth.

Note that this lens features enhanced AF tracking during zooming when used on an EOS R1 or R5 Mark II (and presumably later, minimally, high-end cameras).

With the f/2.8 aperture, low-light AF performance is excellent. This lens focuses on strong contrast in light levels too dark to navigate in.

FTM (Full Time Manual) focusing is supported in AF mode with the camera in One Shot Drive Mode, but the shutter release must be half-pressed for the focus ring to become active. Note that FTM does not work if electronic manual focusing after One Shot AF is disabled in the camera's menu. The lens's switch must be in the "MF" position and the camera meter must be on/awake for conventional manual focusing to be available.

This lens has a two-position focus distance range limit switch that, in addition to enabling the full focus distance range, allows distance selection to be limited to 8.2' (2.5m) - ∞, with the narrower range potentially decreasing focus lock times.

Two Lens Function buttons are provided at locations convenient for horizontal and vertical orientation use. By default, the buttons provide the AF stop function, locking focus at the currently selected distance, permitting a focus and recompose technique. However, they can be programmed for numerous other functions.

Here is a partial list of functions assignable to the Lens Function buttons:

• AF Stop (default)
• Metering/AF start
• Switch to saved AF function
• One-Shot AF / Servo AF
• Eye detection
• Switch to saved AF frame
• AE lock
• AE lock (hold)
• Exposure compensation (turn main electronic dial while button is depressed)
• Activate IS function
• Aperture
• Many more ...

Non-cinema lenses usually require refocusing after a focal length change. However, the reviewed lens is near parfocal. As illustrated in the 100% crops below, focusing at 200mm and zooming to wider focal lengths maintains the proper focus distance.

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The large, rubber-ribbed, manual focusing ring is optimally positioned toward the front of the lens, where I naturally reach for it. This ring turns smoothly and is ideally damped.

I prefer a linear focus ring adjustment rate, and Canon's R-series cameras provide that option with the "RF lens MF focus ring sensitivity" menu option. With "Linked to rotation degree" selected, this lens's focus ring imparts a full extent distance change with 360° of rotation at 70mm and just a few degrees more at 200mm. Unfortunately, MF adjustments happen in steps, and dialing in critical manual focus at 200mm is challenging and frustrating.

With the camera's "RF lens MF focus ring sensitivity" set to "Varies with rotation speed", the MF ring requires between about 90° and 520° of rotation for a full extent focus distance adjustment at 70mm and 195° and 1,940° to do the same at 200mm. Precise focus distance adjustment is vastly better with the variable rate setting selected.

Focus distance adjustment occurs more slowly at close distances, where the depth of field is shallower.

It is normal for the scene to change size in the frame as the focus is pulled from one extent to the other. This effect is focus breathing, a change in focal length resulting from a change in focus distance. Focus breathing impacts photographers intending to use focus stacking techniques, videographers pulling focus (without movement to camouflage the effect), and anyone critically framing while adjusting focus.

This lens produces only a small change in subject size through a full-extent (worst-case) focus distance adjustment, which is especially impressive for a lens with such a short minimum focus distance.

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This lens has a minimum focus distance of 19.3" (490mm), and at 200mm, it generates a remarkably high 0.30x maximum magnification spec.

Model	Min Focus Distance		Max Magnification
Canon RF 24-105mm F2.8 L IS USM Z Lens	17.7"	(450mm)	0.29x
Canon RF 70-200mm F2.8 L IS USM Z Lens	19.3"	(490mm)	0.30x
Canon RF 70-200mm F2.8 L IS USM Lens	27.6"	(700mm)	0.23x
Canon EF 70-200mm f/2.8L IS III USM Lens	47.2"	(1200mm)	0.21x
Canon RF 70-200mm F4 L IS USM Lens	23.6"	(600mm)	0.28x
Canon RF 100-300mm F2.8 L IS USM Lens	70.9"	(1800mm)	0.16x
Sigma 70-200mm F2.8 DG DN OS Sports Lens	25.6"	(650mm)	0.19x
Sony FE 70-200mm F2.8 GM OSS II Lens	15.7"	(400mm)	0.30x

At 70mm, a subject measuring approximately 6.8 x 4.5" (173 x 115mm) fills a full-frame imaging sensor at this lens's minimum MF distance. At 200mm, a 4.5 x 3.0" (114 x 76mm) subject does the same.

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The individual USPS love stamps measure 1.19 x 0.91" (30 x 23mm).

This lens produces sharp center-of-the-frame 70mm details at minimum focus distance with a wide-open aperture, but the image periphery is modestly soft due to field curvature. F/8 brings on increased depth of field that creates sharp corners. Minimum focus distance performance is great at 200mm, with f/2.8 corners being only slightly soft.

An extension tube enables a decreased minimum focus distance, moderately increasing the lens's maximum magnification. As of review time, Canon does not offer RF mount-compatible extension tubes, but third-party options are available.

This lens is compatible with Canon extenders.

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Extenders / Teleconverters

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Unlike its similarly-specced sibling model, the Canon RF 70-200mm F2.8 L IS USM Z Lens is compatible with the Canon RF 1.4x Extender and the Canon RF 2x Extender, and the Z's impressive optical performance carries over to with-extender performance.

With the 1.4x behind it, this lens becomes a 98-280mm f/4 IS lens. With the 2x mounted, it becomes a 140-400mm f/5.6 IS lens. Having 70-200mm f/2.8, 98-280mm f/4, and 140-400mm f/5.6 IS lenses available with a quick extender change is extremely valuable, adding greatly to this lens's versatility.

Weather sealing and image stabilization remain included and effective. Also, the lens's native minimum focusing distance is retained with extenders in use, and that means the maximum magnification value is multiplied by the extender's factor, a significant improvement on an already high spec.

Magnifying a lens's image circle always has an impact on image quality. The question is, how significant is the difference?

The outstanding optical quality of this lens makes the degradation impressively minimal. With the RF 1.4x behind the RF 70-200 L Z and a wide-open aperture selected, image sharpness is barely impacted. Take note — that is exceptional performance for any lens and incredible performance for a zoom lens. The RF 1.4x adds a slight amount of barrel distortion, an ideal amount for offsetting the slight 200mm pincushion distortion, and it has no affect on lateral CA.

The image sharpness hit with the 2x extender is always stronger than with the 1.4x. However, this combination again performs exceptionally well. The 2x increases lateral CA a noticeable amount and adds slight barrel distortion, which improves this len's 200mm geometry.

At review time, the Canon RF 100-300mm F2.8 L IS USM is the only RF lens that performs so well with extenders. The image below was captured at 200mm f/2.8, with the extender simulations illustrated.

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Extenders turn this 70-200mm lens into a wildlife and larger field sports lens.

Canon does not make black RF extenders yet, so those interested in using extenders may wish to select the white lens version.

Design & Features

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The exterior of the Canon RF 70-200mm F2.8 L IS USM Z Lens is nearly identical to that of the RF 24-105mm F2.8 L IS USM Z.

These lenses look great, and the L-series designation means they are built for the rigors of professional use.

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This lens has a mostly consistent exterior diameter. A small width increase starting in the middle of the zoom ring makes it easy to locate tactilely.

The conventional mechanically geared zoom ring is large and features a normal, 110°, rotation amount.

This lens does not change size, aiding in a stable balance across the available focal lengths.

The knurled control ring, located near the front of the lens, is configurable for fast access to camera settings, including aperture, ISO, and exposure compensation. Note that the control ring is clicked by default. Expect this ring's clicks to be audible in camera-based audio recordings. Alternatively, Canon offers a click stop removal service (at a cost).

The four switches feature Canon's current standard flush-mount design, with sufficient raised area for use with gloves. The two IS-related switches are on a slightly raised area of the lens. All switches firmly click into position, but the short throw on the IS mode switch makes selecting the center position slightly challenging.

This lens design features dust and moisture resistance, including seals at the Power Zoom Adapter contacts and connection points.

The front lens element has a fluorine coating applied to repel fingerprints, dust, water, oil, and other contaminants and make cleaning considerably easier.

The RF 70-200 F2.8 Z is relatively large and heavy. However, it is the same size as the EF 70-200mm F2.8 lenses that, for years, many of us used for hours at a time, and the Z weighs considerably less.

Model	Weight oz(g)		Dimensions w/o Hood "(mm)		Filter	Year
Canon RF 24-105mm F2.8 L IS USM Z Lens	46.9	(1330)	3.5 x 7.8	(88.5 x 199.0)	82	2023
Canon RF 70-200mm F2.8 L IS USM Z Lens	39.1	(1107)	3.5 x 7.8	(88.5 x 199.0)	82	2024
Canon RF 70-200mm F2.8 L IS USM Lens	37.8	(1070)	3.5 x 5.7	(89.9 x 146.0)	77	2019
Canon EF 70-200mm f/2.8L IS III USM Lens	52.2	(1480)	3.5 x 7.8	(88.8 x 199.0)	77	2018
Canon RF 70-200mm F4 L IS USM Lens	24.5	(695)	3.3 x 4.7	(83.5 x 119.0)	77	2020
Sigma 70-200mm F2.8 DG DN OS Sports Lens	47.1	(1335)	3.6 x 8.1	(90.6 x 207.0)	77	2023
Sony FE 70-200mm F2.8 GM OSS II Lens	36.9	(1045)	3.5 x 7.9	(88.0 x 200.0)	77	2021

View the complete Canon RF 70-200mm F2.8 L IS USM Z Lens Specifications using the site's lens specifications tool for many more comparisons.

Here is a visual comparison:

Positioned above from left to right are the following lenses:

Canon RF 70-200mm F4 L IS USM Lens
Canon RF 70-200mm F2.8 L IS USM Lens
Canon RF 70-200mm F2.8 L IS USM Z Lens
Canon EF 70-200mm f/2.8L IS III USM Lens

The same lenses are shown below with their hoods in place.

Use the site's product image comparison tool to visually compare the Canon RF 70-200mm F2.8 L IS USM Z Lens to other lenses.

This lens accommodates 82mm filters. While 82mm filters are not small or inexpensive, 82mm is a common filter size, making effects filters shareable with many lenses, including the RF 24-105 F2.8 Z.

The included tripod ring helps balance this lens's size and weight and avoids camera strain and sag (and tripod tipping). The collar also permits easy camera rotation.

Migrated from the 24-105 Z, the RF 70-200 F2.8 Z's tripod ring is among Canon's best RF implementations. This ring is solidly constructed, and the rotation and lock knob function smoothly. There are no 90° click stops, but small groves on the collar align with a small grove on top of the lens barrel to aid locking in these often-useful positions.

Remaining on Canon's to-do list is resolving a slight amount of play in the foot where it attaches to the collar. It is frustrating to lock down a tripod composition and have it change due to slight pressure on the camera.

The RF 24-105 F2.8's tripod ring is not removable, but it integrates smoothly into the lens's external dimensions.

The tripod foot section can be removed by loosening the mount knob and holding the button in while sliding the foot forward.

The foot has standard 1/4" and 3/8" threaded inserts, along with an alignment hole.

While a lens plate with anti-twist nubs, such as the Wimberley P30 Lens Plate, sufficiently locks onto this foot, another option is to utilize a dual bolt plate, such as the Wimberley P40. In that case, a 3/8"-16 to 1/4"-20 Reducer Bushing will be needed in the wider threaded insert. The foot provides an anti-twist pin alignment hole for plates utilizing that feature.

The round-shaped Canon ET-88C Lens Hood is included in the box. This large hood adds important front element protection from impact and flare-inducing light. A window on the hood permits rotation of a mounted filter. I find such windows too small to be useful, and they sometimes inadvertently open, especially when removed from a case.

The WIII or B hood version matching the lens color will be included.

Which color do you want? I don't remember that choice ever before offered for a Canon professional-grade lens. Your choices are Canon's L-series version III white or black.

Until now, the RF 24-105mm F2.8 L IS USM Z was Canon's largest black RF L-series lens. Now, it shares that title with the RF 70-200mm F2.8 L IS USM Z. Alternatively, get it in white (which matches the Canon extender color).

While more conspicuous, white stays cooler in direct sunlight. Interesting is that the white lens weighs 0.01 lbs more, 2.44 vs. 2.45 lbs (1110g vs. 1115g).

Canon includes a case with their L-series lenses, and this one is the nice dual-zippered, padded nylon Canon LZ1328 Lens Case, the same case included with the Canon RF 100-500mm F4.5-7.1 L IS USM Lens. It seems that the RF 24-105 Z's LZ1326B Lens Case would have been the choice since the two lenses are matched in size.

Back to the "Z" designation. This lens has a standard mechanical zoom ring, but alignment holes, threaded inserts, and electrical contacts are provided for solid attachment of the Canon Power Zoom Adapter PZ-E2 and PZ-E2B (PZA).

When used on supported cameras, a gear inside the adapter drives a small-geared portion of the zoom ring at a selectable rate. Manual zoom can be selected while the PZA is attached.

Buttons on the outside of the adapter smoothly zoom the lens for operability approaching a cinema lens, easing the job of a single-person operator.

The PZA can be powered by the camera or externally via the USB port PD, which also provides faster zooming on some camera models. Remote control is available through the Camera Connect and EOS Utility apps.

The "B" version of the PZA includes a 20-pin connection, enabling control from other devices.

The PZAs are light, weighing about 5.5 and 5.8 oz (155 and 165g).

Another video-optimized accessory for this lens is the optional Lens Holder LH-E1 that mounts on the lens to provide balanced support in rigs, etc.

Price, Value, Compatibility

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While the Canon RF 70-200mm F2.8 L IS USM Z Lens is expensive, its features and performance make it a great value for serious amateur and professional photographers and videographers. The Power Zoom compatibility alone may be worth the cost of this lens to the latter group. I said the same for the 24-105 Z sister lens, and these two are outstanding.

As an "RF" lens, the Canon RF 70-200mm F2.8 L IS USM Z Lens is compatible with all Canon EOS R-series cameras, including full-frame and APS-C models. Canon USA provides a 1-year limited warranty.

The reviewed Canon RF 70-200mm F2.8 L IS USM Z Lens was on loan from Canon USA.

Alternatives

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The perfect lens does not exist. However, the best lens for your needs does. Determining that answer requires a look at the alternatives. The first alternative I wanted to explore is the sibling Canon RF 70-200mm F2.8 L IS USM Lens

In the image quality comparison, the Z lens produces slightly better image quality than the outstanding results from the non-Z lens. The non-Z lens has stronger peripheral shading at 200mm f/2.8. It also has slight barrel distortion at 70mm but less pincushion distortion in the mid-range.

The Canon RF 70-200mm F2.8 L IS USM Z vs. RF 70-200mm F2.8 L IS USM Lens comparison shows the non-Z lens immaterially lighter and considerably smaller when retracted. When fully extended, the non-Z lens is slightly longer, but the fixed-size Z lens requires a larger space in the case. The non-Z lens uses 77mm filters vs. 82, and which size is better often depends on the filter sizes of the other lenses in your kit. The Z lens has a higher maximum magnification, 0.30x vs. 0.23x, and 11 aperture blades vs 9 for improved bokeh (and weaker sunstars), especially when stopped down significantly. The Z also has Lens Function buttons, 5.5-stop IS vs. 5.0, extender and PZA compatibility, and a modestly higher list price.

The Z has a more conventional design for this lens class, and Canon's prior such model is the EF 70-200mm f/2.8L IS III USM Lens. In the image quality comparison, the RF lens has considerably better image quality. The III has slightly less peripheral shading at 70mm f/2.8, but it shows more flare effects. It also has slight barrel distortion at 70mm but less pincushion distortion in the mid-range.

The Canon RF 70-200mm F2.8 L IS USM Z vs. EF 70-200mm f/2.8L IS III USM Lens comparison shows the two lenses having the same dimensions, but the RF lens, with five fewer lens elements, is dramatically lighter. Also, the EF lens requires the extra size and weight of a Canon Mount Adapter EF-EOS R for use on an R-series camera. The RF lens has 11 aperture blades vs. 8, uses 82mm filters vs. 77mm, and has a 0.30x maximum magnification vs. 0.21x. The RF lens features Dual Nano USM AF vs. Ring USM (great in its day), a 5.5 stop IS system vs. 3.5, Lens Function buttons, a control ring, and PZA compatibility. The EF lens has a focus distance window, and its street price is considerably lower.

Let's cross over to the Sony platform. The Sony FE 70-200mm F2.8 GM OSS II Lens is not much older, and it is a stellar performer.

This image quality comparison shows both lenses turning in outstanding performances, but the Canon lens begins to pull in front when extenders are added.

The Canon RF 70-200mm F2.8 L IS USM Z vs. Sony FE 70-200mm F2.8 GM OSS II Lens comparison shows near equality. The Sony lens is 2.1 oz (72g) lighter and slightly less expensive. The Canon lens has PZA compatibility.

Use the site's tools to create additional comparisons.

Summary

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The older RF 70-200mm F2.8 L IS USM Lens has been an outstanding telephoto zoom lens choice, but now serious amateur and professional photographers have a choice. The 70-200 Z does not break new focal length range ground (until extenders are added), but it has features that set it apart, especially for hybrid use.

This is the sharpest interchangeable zoom lens we've ever tested. The Canon RF 70-200mm F2.8 L IS USM Z is an extremely useful, high-end, mid-sized, fixed-size lens that reliably delivers outstanding overall performance, including outstanding image quality, fast and quiet Dual Nano USM AF, and 5.5-stop IS (7.5 stops with Coordinated IBIS).